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Gaza
Israel
War & peace
7 min read

Gaza-Israel: bankrupt ideas still capture too many of us

One year on, we’ve turned no pages, learned no lessons, made no progress.

Todd  is the Executive Director and Co-Founder of Telos Group. It forms communities of American peacemakers across lines of difference and conflict, including Israel/Palestine. 

A graffitied concrete border wall stands below a blue sky and dusty ground
Border wall between Gaza and Israel.

It’s the first anniversary of October 7, and we’re left with the grim task of finding a way to appropriately honor the dead, stand in solidarity with the bereaved, and mourn with all who mourn.  And we do this as we acknowledge our ongoing collective failure and the unimaginable and avoidable loss of so many innocent lives, each one with its own promise and possibility forever denied.  In the end, it’s hard to find a way to commemorate the horror of that day because it’s still going on.  We’ve turned no pages, learned no lessons, made no progress.  

Someday there will no doubt be a grand and somber memorial that tells the story of the brutal October 7 attack. The victims of that day will be remembered, the captives and their fates memorialized. And some day there will be a museum that tells the story of what many already believe will be characterized in the historical record as a genocide in Gaza. To what we already know of the massive destruction of a place and a people will be added details that will be excavated from the rubble, testimonies from the traumatized survivors, heartbreaking tales of orphans and of the destruction of entire families. Maybe these places of collective memory will offer greater context for the world in which the tragedies that created them took place, some kind of “never again” lessons to learn, and no doubt some sharp analysis of the failures that led to these days of great darkness.  If these attempts at memorialization are honest, they will hold many of us up to withering critique. We’ll be in the museums too, enduring rebuke for the indifference that led us here or for our zero-sum thinking that could only imagine a world born of and sustained by violence in all its forms.  

These are lone and lonely voices in a land besieged by brutality, dehumanization, and ideologies of ethnic and religious supremacy.  But they are not unicorns. 

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If we don't want the story to be about our blind complicity, but about our courage, we still have time to own our agency. Because this isn't over yet. We can mark this day by remembering that it will continue to be like all the others until we all do our part to achieve a ceasefire, a release of captives, and an end to support for systems of inequality and control.  In whatever ways great or small that we can, we have to reject the logic of violence and the ideologies of hatred and exclusion.  And to be active participants in cultivating in ourselves and in our communities an imagination for the way each human life is sacred and our flourishing is tied to that of our neighbors.   

We do this even as we pause and honor the innocent dead in Israel, in Gaza, in the West Bank, and now in Lebanon. We mourn with all those who mourn. But we do that with people still dying in Gaza, with millions of Palestinians still displaced, with disease and hunger rampant, with Israeli hostages still being held, with massive street protests calling for a ceasefire being ignored, with hundreds of thousands of Israelis still displaced from their homes in the north and the south, with Hezbollah rockets still falling and now with the war more fully advancing into Lebanon, with a wider regional war ever a distinct and terrifying possibility, with settlers rampaging in the West Bank with impunity, with ideological zealots setting the terms of debate, with economic catastrophe as hundreds of thousands of West Bank Palestinians have endured a year with no income, and with palpable fear among Palestinian citizens of Israel.   

The bankruptcy of the ideas that have prevailed this past year remain firmly in control and continue to capture the imagination of too many.  And yet there are those who know that violence begets violence begets violence, and that this is how we got here, not how we get out.   

I spent a day in New York City last month with four members of the Parents Circle/Families Forum, an organization made up of 700 Palestinian and Israeli families, each who have each lost a loved one in the conflict. In addition to the pain of loss they share, they also share a commitment to a rejection of the very notion of revenge and an embrace of the work of reconciliation.  Four members of this group traveled to the United States for a two-week tour to help us understand our part in their shattered and unjust reality and to let us know that there is another way if we can find the courage to pursue it.  That way is mutuality.  It is an embrace of security, dignity and freedom for all the people of their traumatized shared homeland, Israelis and Palestinians alike, in equal measure.   

Each member of this unlikely tribe has a unique story of personal loss, and as they speak, they tell of the worst day of their lives, over and over again.  But there is exponential power in the fact that these stories are told in one voice.  Two members visiting the U.S. are mothers, one Israeli and one Palestinian, who have lost children in the conflict and have been transformed by the deep realization that they share the same pain. One was a young man whose ten-year-old sister was killed by an Israeli border policeman and after some years of anger-fueled stone throwing as a teenager, he began to channel his trauma into the work of resisting occupation and violence via the collaborative work of justice, freedom and security through reconciliation.  And one of the newest members of this work is a man whose mother, an internationally recognized Israeli peace activist, was killed in a kibbutz on October 7.  He has chosen to pick up his mother’s work and devote himself to a just peace for himself and for all his neighbors, Palestinians included.  

These are lone and lonely voices in a land besieged by brutality, dehumanization, and ideologies of ethnic and religious supremacy.  But they are not unicorns. There are others there whose stories need to be told and whose work needs our support.  

My church is preaching a sermon series reflecting on the leadership and choices of the kings of biblical Israel and Judah.  Their stories are old but their inclinations to violence, their neglect of care for the poor and the widow, and their lack of concern for justice are timeless. In a recent sermon I was struck by my pastor’s observation that even those of us who have regularly engaged with the Bible all our lives don’t always know much about the kings, but we do know something of the prophets.  They are, in his words, “the ones who hold the story for God.” And in times like these,  as we descend ever deeper into darkness and inhumanity, they are the ones who share in the pathos of God, to borrow from rabbi Abraham Joshua Heschel. But they also show us the way out. Warmongers in the Middle East and here in the West are creating massive destruction. We too easily and readily live within the world created by their corrupted imagination.  We can’t ignore them. But we don’t have to listen to them. Listen to the prophets, those who hold The Story of God’s shalom, of his kingdom of justice and peace.  They are still among us.  One of our responses is to make sure we’re listening to these voices, amplifying them, and following their lead.  

As a Christian, over this past year, I have found myself being drawn more deeply into the life and the person and the divinity of Jesus of Nazareth. The deep love of the maligned and suffering, enemy-loving  Jesus, he who was accused by the religious establishment, executed by one of the great empires of history, mocked and spit upon, all for the threat he posed to those addicted to power, control, exclusion and the violence needed to enforce it all.  This is the Jesus who boldly declared liberation of the captives, vision for the blind, food for the hungry--a new kingdom of justice and mercy, of wholeness and shalom.   

None of these things I believe absolve me from acting.  Jesus is not my cop out, he’s my way out.  What if we who seek to follow him were to repent of our propensity to violence, our fascination with the zero-sum binaries we use to create hierarchies of exclusion, and our failure to demonstrate our love for God by showing love of our neighbor?  We might not solve all the problems that are destroying us but we’d at least stop contributing to them. And imagine what a more generative and healing presence in the world we would be if we joined our voices with others of different faiths and none who also believe in a world more just and whole.  I would argue that the world in all its diversity and complexity needs Christians to mark this day and this moment is by taking Jesus so seriously that we start to live out his calling to be active participants in the work of justice, healing and repair and living reminders that all are made in the image of God, violence begets violence, and the simple truth of Mother Theresa who said, “If we have no peace it’s because we’ve forgotten we belong to each other.” 

Essay
Art
Culture
Trauma
7 min read

From egalitarian to elite: 100 years of Art Deco

Birthed by a lost generation, its legacy is not what its creators sought

Sarah Basemera is a circular economy enthusiast and a founder of Canopi, a boutique for recrafted furniture.

An art deco poster shows the heads of three woman against a beach background.
McGill Library on Unsplash.

Agatha Christie, The Savoy Hotel, Cartier, The Great Gatsby, and All That Jazz sit under the gilt-edge umbrella that is Art Deco. This design movement blossomed for two decades. In 2025, Art Deco turns 100 years old. Today, it's a celebrated era for its gift to design, but what can we learn from this period, and how have the ideologies of this period stood the test of time? 

Art Deco saw  geometric patterns with rectilinear lines, rich jewel contrasting colours with luxury exotic materials, virtuosic craftsmanship, and streamlined expression in architecture, furniture, fashion, art, and jewelry.  

On the surface, this style had many muses, from traditional African art to Cubism. It linked the discovery of Tutankhamen in 1926 with the ceramics of Japan. The bold theatrical colours of the costumes and stage designs of the Ballet Russes, also made a huge impression on Deco creatives. It infused their work with the first vibrant, intense strokes of modern design.  

Over the past 100 years, we have applied Art Deco ideas in different ways, taking what we want from it when we needed to. 

It was the first truly international style, yet it had distinct local expressions. American Art Deco – such as the ornate topped skyscrapers like the Empire State building, had a different expression from opulent Parisian objects such as Cartier alabaster cigar boxes. 

The original Art Deco creatives sought to capture the essence of beauty refined to its simplest form. There was a focus on geometric shapes, symmetry and measured ornamentation.  They wanted to remove the excess frills of previous generations and refine the design.   

Under the gilt-edged Art Deco umbrella were two somewhat opposing arms – the decadent strand vs the essentialist. Today, in popular culture, we remember this period for the Roaring Twenties, excess and hedonism. The decadent strand favoured luxurious, opulent craftsmanship. Its products were attainable only by a small pool of wealthy patrons. 

The essentialist strand – "Art Deco de Moderne" began with noble intentions. They prized efficiency and simplicity, characterised by geometric rectilinear designs. These creatives wanted design to respond to the changing needs of the age. They wanted great design to be accessible to more people. Both strands recognised the power of design to elevate the human experience. They invested in the endeavour to craft beauty across the entire sphere of life, from elevated factories to generous streamlined apartments. 

Vogue Cup and Saucer, 1930, V&A Museum.

An art deco cup and saucer on display.
Vogue cup and saucer, 1930.

100 years later, the problem of accessibility of good design hasn't been fixed. Craftspeople still need to find ways to sustain a living. Handmade design from natural materials is still mainly attainable by the wealthiest. Local craftsmanship is in crisis, and many of us do not know and cannot afford artisans to make things for us from natural materials. Many skilled artisans cannot maintain workshops in our cities. 

Art Deco designers may not have described themselves as hedonists, but they certainly produced goods with this dazzling class in mind. These designers had to be at ease with this world and knew how to play its game to remain commercially viable. So why did the Art Deco Age gush with an ideology of hedonism?  

The philosophy of hedonism from the interwar period reflected the worldview of the so-called 'Lost Generation'. American author Gertrude Stein famously said to a young Ernest Hemingway years after World War I: 

"All of you young people who served in the war... You are all a lost generation . . . You have no respect for anything. You drink yourself to death ...". 

This mood was the backdrop to the literary and creative landscape of the 1920s. 

 When the Great War ended, people wanted to celebrate - play, party and travel, but euphoria for some turned to excess. The simple joys of living here and now became an absolute value. They had witnessed the horrors of war, the fragility of life and were jubilant, wishing to live life to the full. Knowing life could be cut short, the doyennes of the age swung into excess, supposedly breaking free of Christian values, only to find they became trapped in cycles of gratification that didn't deliver. "Let us eat and drink, for tomorrow we die!" 

This unbridled hedonism was their feast after the plague - it was a coping mechanism. They couldn't think about the future – living here and now was a maxim underpinning this period.  

The Lost Generation grasped the concept of being present in the moment, but they also discovered numbing pain was a deeply unsatisfying solution. 

Fast forward a hundred years, and hedonism is still elusive and utterly unhelpful. It still has a numbing rather than a healing effect. Perhaps its modern relative is bingeing. You know what your binge is, and so does Netflix and our NHS.  

What can the hedonists hijack of Art Deco teach us? Looking sympathetically on this era – hedonism appears to be a coping mechanism. Something humans have needed for aeons. "Do not worry about tomorrow for tomorrow will worry about itself. Each day has enough trouble of its own",said Jesus. The Lost Generation grasped the concept of being present in the moment, but they also discovered numbing pain was a deeply unsatisfying solution. 

Ideally, the weight of grief and loss must be wrestled with, carried, shared and not buried. In great pain, it is still wiser to face it, wrestle, get help and cry out to God. In our age, we have the benefit of hindsight to know that burying trauma produces unhealthy outcomes in the long term. We have the privilege of being able to access counsellors, therapists and psychologists.  

The fragility of being in the shadow of death doesn't hang over us today in the West, because we haven't had a recent World War. The closest reminder came through the COVID-19 pandemic. For a moment, we were all forced to focus on simpler things and live less frenetically.  

Another ideology underpinning the age of Art Deco was the belief in the transformative power of the machine age. In this era, confidence rose in the ability of machines.  Steamships, aeroplanes, automobiles, electrification and telecommunications were transformative innovations.  

The rise of machines represented a break from the failed past and the move into modernity into the future. Some of the more modern leaning Art Deco designers took inspiration from the shapes of the new machines and hoped that mass production would lead to more democratic outcomes, with good design being available to all. From Art Deco de Moderne, we began to learn the beauty of simplicity. Efficiency and essentialism were prized. It was the forerunner to Modernism proper. Sadly, this aspect has been butchered over the decades and reproduced unfaithfully in architecture and consumer products. The principle of celebrating the inventiveness of man slowly evolved into something less noble. The desire to return to the essence of good design was galvanised by the need to rebuild fast after World War Two, both as a sign of triumphalism but also to give the nation decent homes. Council house homes were built quickly to rehouse the nation using cheap materials. 

Today, mass production has indeed made design more accessible. More of us have access to contemporary-designed objects and clothes because they are manufactured quickly out of cheap, synthetic, non-biodegradable, toxic materials, at the sweat and tears of workers who are trapped in inhumane conditions, rarely seeing sunlight or fair wages. 

Nevertheless, 100 Years of Art Deco design has shown us that quality still endures over quantity. The Art Deco legacy of brilliant buildings made of robust materials, with subtle virtuoso ornamentation, has survived the test of time. Though more of us can enjoy contemporary design at affordable prices, I doubt we will cherish most of what we own today even 20 years from now. It is mass-produced, less durable and made from low-grade materials and built to pass. 

Art Deco teaches us, our legacy is not in our hands but in those who remember us. Today, we look back at Art Deco not as egalitarian or hopeful but as opulent and lavish. The intellectuals of that age openly lived torn by their excesses, some even dying by suicide. Yet it was meant to be designed for the ordinary person and to elevate all. By simplifying design to its essence, it was supposed to democratise design. 

From Wall Street Deco to the frivolous woos and woes of Wodehousian characters and music in the keys of Jazz, this era has made its distinguished, enduring mark on the arts. Beneath the sparkle, what has developed an enduring patina with age, is the high quality of craftsmanship across all fields. 

Looking beyond the arts, the Lost Generation has taught us that escapism is elusive and to be cautious but not charmed by machines. We can delight in excellent craftsmanship and cherish the beauty of essence. 

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